. . . [I Fagiolini] venture confidently into early and mid-twentieth-century French repertoire . . . lustrous harmonies . . . I Fagiolini also sing Roderick William's new arrangement of the Adagio from Ravel's Piano Concerto in G, with Anna Markland sensuously tickling the ivories and the voices replicating the sinuous strings.

Record Review /
Richard Morrison,
The Times (London) / 01. April 2016

. . . the collection is the very best kind of musical pleasure, and one rather more substantial and enduring than the title might suggest . . . I Fagiolini bring all the madrigalian clarity and responsive, soloistic singing of their early music performances to this contemporary repertoire . . . [on Daniel-Lesur's song cycle] I Fagiolini's 12 solo voices give the work an operatic freedom and scope that makes sense of these fragrant texts and their amplified emotions . . . "Un soir de neige" cuts deliciously against the shifting, ambiguous sensuality and languor of Milhaud's "Deux Poèmes", where a vocal quartet provides sudden intensity. . . [Amuse-bouche" is] entirely fresh and unexpected, a recording that's a bit sexy, a bit silly and absolutely, unmissably superb.

. . . a disc of music devoted to oral pleasures . . . Exquisitely accompanied by pianist Anna Markland . . . As pianist and singer, Markland offers the most idiomatic performance. She plays Satie's "Gnossiennes" 4, 5 and 6 beautifully and sings the top line of Milhaud's "Deux poèmes" and Poulenc's "Un soir de neige" with elegance and integrity. Together with sopranos Helen Neeves and Kirsty Hopkins, she also locates a stylish, smiling blend.

There's something irresistible and intoxicating about hearing an ensemble taking such pleasure in making music with each other. That joy and communicative energy absolutely sings from this recording, making it a winner even before you take into account the provocative collision of repertoire, marrying the sacred and earthily sensual with breathtaking audacity.